Joomla gallery by joomlashine.com
Eye on Independent Films
Working In The Cloud
Studios and Soundstages
2013 Music & Sound Guide
By Cory Sekine-Pettite
When Hollywood sees a moneymaking opportunity, the studios are quick to churn out movies and TV programs in order to get their share. This isn’t a bad thing necessarily; the target audience is provided with a great deal of affordable entertainment, and a lot of industry personnel are put to work. However, as is often the case, trends can be taken too far – too many movies shot entirely in front of blue screens, for example – before studios decide to move on to the next big thing.
As is often the case, it is behind-the-scenes technology that makes many of these trends possible. For example, in the mid-1980s, many movie fans were upset by the fact that the Turner Broadcasting System (TBS) had purchased the broadcast rights to more than 100 Hollywood classics with the intention of colorizing these old films. Just because it is technologically possible, people said, doesn’t mean it should be done. In my opinion, the same can be said today about adding 3D visual effects to old movies.
As I write this, studios are scheduling to re-release several films in 3D, including many Disney classics (based on the box office success of the re-released The Lion King) and Top Gun. Many other 3D re-releases certainly will follow. Granted, the technology behind these endeavors certainly is fascinating – as was the colorization process in the 1980s – but is it really necessary? When TBS colorized The Wizard of Oz and Casablanca, the outcry was over messing with Hollywood history and potentially destroying a director’s original intent. (Who’s to say what color clothes the actors wore, or what colors were used in set design, purists asked?)
Will audiences really pay to see these movies in theaters again – movies many people already own on DVD – just because of a few added VFX? Based upon the popularity of recent movies filmed with new 3D cameras, such as Avatar (which made more than $2 billion worldwide) and Alice in Wonderland (which grossed more than $1 billion worldwide), the studios seem to think so. But repurposing a movie as 3D is not the same as a movie shot in 3D. Perhaps the studios believe the younger demographic, which fills most theater seats these days, doesn’t know or doesn’t care about the difference. There’s no doubt the new 3D technologies are bringing people to their local movie houses, but I believe that pushing out old films with added 3D effects diminishes the updated technology’s contemporary appeal.
I very well may be proven wrong upon the re-release of Top Gun and movies like it, but until then, all I can think about when picturing old 3D movies is Jaws 3-D. And that’s an unpleasant memory in more ways than one.
In the beginning, there was film. Images captured on light-sensitive material that could be shared among many viewers. Later came magnetic material called “videotape” and it was good for many things. Then a revolution! The computer and digital charged onto the field.Read more...
In the western United States, studios and soundstages often come with a distinguished Hollywood heritage. In Santa Fe, N.M., Garson Studios was founded by an Academy Award-winning actress. In Hollywood, Fox Studios carries the cachet of one of the legendary major studios. Moving north, the stages of San Rafael, Calif.’s 32TEN Studios once hosted Lucasfilm blockbusters, while the new Reno Tahoe Studios in Nevada seeks to establish its own heritage as production incentives promise to attract film and TV business to the state.Read more...
At NAB this year, a section of the exhibition space was designated as the Cloud Pavilion. About 20 companies exhibited – to the extent that anything called a “cloud” can be exhibited – and discussed applications for this digital environment. A cynic might revert to one of the early clichés of computing and refer to some of it as vaporware; a nice pun, that.Read more...
- Unified Video Technologies Introduces Next-Generation Production Flight-Packs
- Rodeo FX Turns To iPi Motion Capture to Create Key Scene in 'Now You See Me'
- Eric Yealland Brings Unique Flair for Comedy Direction to Original
- Schneider Optics Announces Rebate on Cine Xenar III Lenses
- Special Effects Contributed By 32TEN Studios Help Make-A-Wish Come True for 5-Year-Old 'BatKid'
FirstCom Music 2013 Credit Reel
A blue sky sprawls between ridges frosted in deep evergreen, framing Alder Gulch much as when Native American tribes traversed this landscape 800 years ago. The town of Virginia City sprang up virtually overnight in the summer of 1863; within one year, it was the largest city in the Inland Northwest, with an estimated 10,000 residents. These days, few people continue seeking gold in Alder Gulch. But for filmmakers seeking ready-made Old West locations, the towns of Virginia City and Nevada City offer one more chance to strike it rich.
Chrosziel Camera accessories are the professionals choice! Chrosziel's broad range of well built, German designed and manufactured camera accessories offer reliable operation to last your professional career. Matte boxes in a variety of filter sizes and filter stages, with or without a swing away arm, Follow Focuses for smooth and accurate focus pulls with no backlash are available as single or dual sided versions and Vari-Lock, a Chrosziel exclusive, offers you the ability to set hard stops for quick focus pulls. Chrosziel offers a broad line of camera bases including 19mm bridge plates, lens supports and much more for Blackmagic, Canon, JVC, Panasonic, RED & Sony cameras.